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FWX

SKU: 039841605129
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Metal Blade
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Reissue of the studio album from the prog metal forefathers - now with three bonus tracks. Sadly this will be Mark Zonder's swansong with the band. Musically speaking FWX seems to return back to the lighter progressive rock leanings of APSOG. I don't hear any of the harsher industrial overtones that crept into Disconnected.

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  • "This forward thinking Philadelphia area thrash band was formed from the ashes of cult heroes Anvil Bitch. Their two classic demos (Dominance - 1988 and Look Where We Worship - 1990) have been compiled and remastered for this new collection. Resurrected is the first time this material has been released on CD. The enhanced content contains a full live set from 1989 and slide show of club flyers from the era. Also included - brand new interview with the band and full lyrics. "Even with Dominance’s late arrival to the thrash metal explosion, their music was adventurous and lyrical subject matter absolutely captivating. However, what truly set them apart from the countless bands hacking it out was the addition of samples to their music. It was extraordinarily innovative and I can still remember getting chills the first time I heard General Ursus’ voice declaring “The only good human is a dead human” (from Planet Of The Apes) in the opening few seconds of “Resurrected.” It was eerie, yet uplifting in a sense. When their Look Where We Worship demo was released, the thrash scene may have been on its way out, but Dominance were defiantly paving a new path and adding even more creative depth to their already impressive arsenal of songs. Though they weren’t necessarily reinventing the wheel their bold approach to thrash metal certainly changed my world, forever." Matt of KILLWHITNEYDEAD"
    $12.00
  • Domestic jewel box version includes the bonus track "I Wish I Could"."At the very least, THRESHOLD may well be the UK's answer to DREAM THEATRE; progging on since 1988, 2014 sees a follow-up to 2012's "March of Progress", titled "For the Journey". Their brand of Prog Metal (let's face it, every band does it differently) involves less of a focus on instrumental technical showy-offy-ness, and emphasizes the heaviness of individual riffs, and the soaring atmospherics and ambience."Watchtower on the Moon" is teetering on the edge between classic prog motifs, and spacey, futuristic, sci-fi permutations. Upbeat, with a (largely) followable jive, a strong, groovy riff carries the first half of the track, slightly downplayed to best put the vocals out there, and what stellar vocals they are. The blend of delivery of catchy hooks, power and diction, that programs the 'Prog' name with unadulterated listenability. Interestingly enough, as the song evolves, instrumentals are brought to the forefront, and the fabrics of time signatures are toyed with, allowing melodic interplay between guitar and keyboard to flourish. "Turned to Dust" is quite the heavy piece, if not the heaviest on the album; the riffs punch through with a percussive power belied by the flamboyant melody arrangements, and also happens to contain my favorite chorus on the album."Autumn Red" is a smooth, liquid display Prog excellence, the chisel struck by the juxtaposingly heavy riffs; the "keyboards from the 70s' used to great effect, perhaps raking up nostalgia in the PINK FLOYD fans among us. Lyric enthusiasts among us will be drawn to this track; as I perhaps didn't emphasize enough, Damian is the man for the job, delivering poetry into a new artform; pure, melodic diction that embosses the expansive tapestry set by the band. "Siren Sky" is easily my favorite piece; perhaps one of the more "metal" track on the album. The first instance of riffage surged forth tall waves of pure 'epic'. Never a dull moment on this track, the riffs prepared on the piece are emotive like no other on the album; I'm legitimately without words.Easily in my top 3 of this year's Progressive releases, it is no wonder that veterans of the genre are behind this mastery." - Metal Temple
    $16.00
  • "Tellus Requiem was formed back in 2007 by guitarist Stig Nergård. In 2010 Tellus Requiem released a self-titled debut album digitally. This album opened up some doors for the band, and resulted in some live concert supporting acts like Keep of Kalessin, Edenbridge, and Pagan's Mind. “Invictus” was mixed and mastered by Tommy Hansen (Jailhouse Studios, Jorn, TNT, Helloween) with the cover art done by Thomas Ewerhard (Symphony X, Theater).According to the band’s biography, the main theme of the band’s writing is about worlds shattering to pieces. This can either be global or personal experience, fictional or literary. Tellus Requiem means; the earths death mass. Tellus being Latin for The Earth, Requiem being the last composition a composer writes before they die. Listening to the ten tracks featured on “Invictus”, it’s obvious that the band is comprised of five very talented musicians with a love for melodic progressive metal in the style of Symphony X and Dream Theater with flourishes of Eastern Folk and the big sound of a motion picture film score (as is evident on the opening instrumental song “Ab Aeterno”). “Red Horizon” kicks in with a vengeance and is highlighted by very Symphony x-like keyboard work by Anders Sundbø (whose frenzied playing style steals the show on this song) and heavy guitar crunch by Nergård.  Vocalist Ben Rodgers has a unique and impressive style and range without resorting to sounding like peers such as James Labrie or Russell Allen.Drummer Vidar Lehmann shows off his considerable chops and fast feet on the middle-eastern tinged “Eden Burns”. A beautiful acoustic guitar passage introduces “Reflection Remains” which leads into a melodic and majestic vocal performance by Rodgers accented by soaring harmonies and a soulful yet blistering guitar solo by Nergård.  The heavy melodic prog metal of “Twilight Hour” has plenty of melody, groove, instrumental chops, and odd time signatures to satisfy the most jaded prog metal fan.  “Sands of Gold” is a complex and chaotic attack of progressive drum patterns, middle-eastern melodies, heavy guitar and keyboard wizardry with Rodgers voice providing the melodic anchor holding it all together. The appropriately titled “Tranquility” is a slower, peaceful and introspective song with Rodgers showing his emotional side as well as his considerable range to great effect. “Redemption” starts off with an impressive Spanish style guitar playing and kicks into a heavy guitar rhythm and aggressive lead vocals and beautiful harmony vocals courtesy of a vocal choir. The heavy prog of “Invictus” is a fast paced and the vocals and musicianship are razor sharp here.  The final song is “Dies Irae” which is the “day of wrath” and was an old Medieval poem sung during the Mass of the Dead ceremony, is a short and sweet outro track and a fine way to end this musical journey. For such a young band, Tellus Requiem has created a stunning and impressive progressive metal feast that fans of Symphony X and Dream Theater will find quite enjoyable. " - The Metal Pit
    $12.00
  • "'You've got some new Momentum...you better keep on going,' Neal Morse declares in the exciting title track of his new album. After an amazing 2011 that included the release and subsequent world tour of 'Testimony 2', and the release of the five disc set of 'Testimony 2 Live in L.A.', what could Neal possibly do to follow that? 'That's about where I was in January of 2012; waiting and wondering what was next. Then, Mike (Portnoy) had an open window at the end of January, so I booked him and Randy (George) to come to Nashville to record. But I had no album! Fortunately, an explosion of creativity happened that far exceeded our expectations...'Featuring guitar work of six string legend Paul Gilbert, and of course, the stellar drumming of long time partner Mike Portnoy, 'Momentum' is a musical thrill ride that will leave you breathless! Everything you'd ever want in a Neal Morse album is here; going prog elements, hooky pop choruses, intricate vocal weaving, blistering musicianship and beautiful melodies are all present and accounted for. Highlights: 'Thoughts Pt 5', the perfect sequel to the earlier Spock's Beard classics, 'Weathering Sky', rock/pop brilliance and 'World Without End', clocking in at 33:51, this is the ultimate prog epic from the man who practically invented the term.Also featured on the album is Neal's newest find, Brazilian guitarist Adson Sodre and other members of Neal's new live band. With its surprising directness, depth and pure prog exhilaration, 'Momentum' is quite possibly the ultimate Neal Morse album."
    $12.00
  • Evergrey are back and better than ever!  I think the general consensus is that as the band became more and more popular the music became a bit more commercial and the production slicker.  Tom Englund has gone back to the basics and its clearly the right move.  Jonas Ekdahl (drums) and Henrik Danhage (guitars) have returned to the fold and production has been handed over to Jacob Hansen.  This is a return to the "classic" Evergrey sound - that perfect balance of melody and heaviness with the right amount of "prog" injected when necessary.  COMEBACK ALBUM OF THE YEAR!  BUY OR DIE!"One of the leading names in the power/progressive metal world is the Swedish five-piece, Evergrey. Forming in 1995, the band has released eight full length albums, with number nine releasing this fall. The band has been known for relatively dark lyrics and concept albums since their debut, and because of this fact, it was very difficult for me to get into their music. I can easily count the amount of times I thought “I should listen to Evergrey” on one hand. Though I wasn’t well versed in their discography, what I had heard was moving quite slowly, was downright melancholic, and just couldn’t catch my attention. That was until the Hymns for the Broken album landed in my inbox.First off, the notable changes in the lineup, with the return of Jonas Ekdahl (drums) and Henrik Danhage (guitar) grabbed my attention immediately. Though the band briefly spoke about the addition of the two previous members on their Facebook, “What can we say? We missed each other.” I truly believe that this decision, and the amazing mixing by Jacob Hansen (Volbeat, Amaranthe, Primal Fear) and production quality are what set this album up for its coming success.The album kicks off with a very eerie intro track, then jumps into the first single and video, “King of Errors”. Even without being an Evergrey fan in particular, I have always known who Tom Englund was, as his voice is so unique and legendary in the industry that I couldn’t ever really escape it. This song is a great display of the power and ability he has as a vocalist to truly bring a wonderfully written song to an entirely new level. The blend of the guitar riffs and keyboard work is perfection to say the least, but when the awe-inspiring guitar solo hit, I knew this album had me by its teeth.Immediately following is another one of the strongest tracks on the album, “A New Dawn” with a strong and hard-hitting guitar and bass riff that doesn’t ever really let go throughout the song. This song features one of the more beautiful keyboard solos on the album, but yet again that guitar solo just comes out of nowhere and destroys any solo I have ever heard this band release. “Black Undertow” is another perfect example of why Englund is so well-respected in the music world. It begins with his chillingly lower vocal range, but builds back up to where he truly shines. This song not only features another soaring and strong chorus, but the rhythm work between all instruments keeps it dark and eerie, though the keyboard lightly dances above it all.The title track to the record explodes into this phenomenal musical intro, but fades just as quickly as it hits. Boasting some of the strongest, most emotional lyrics on the album, the song hits a chord in many personal ways. “Scream loud, these hymns are for the broken,” are just some of this crowd enticing chorus that Englund sings flawlessly throughout. Bringing the album to a close is the over seven minute song “The Aftermath” which begins in a ballad-like fashion, but builds to a very strong finale. The tempo remains slow, but the flawless movement in the instruments keeps it absolutely enthralling. The last half of the song is entirely instrumental, and the conversations between keyboard, bass, and drums is something that I could listen to on repeat for hours, especially when the haunting lead melody soars above it all.If you can’t tell, I can’t think of a single moment on this album I don’t absolutely love. As someone who could never get hooked by an Evergrey album, I can assure you this is not just ‘fandom’ talking. Hymns for the Broken is a perfect album that even after weeks of constant play, I can not get enough of. Perhaps it is indeed perfection, or perhaps it just hit me at the right time in my life, either way I am in love. Easily a current contender for album of the year, it’s so full of beautiful melodies and amazing arrangements that any fan of power or progressive metal will absolutely love. I don’t doubt that all previous fans of the band will appreciate this album as much as I do, but I sincerely hope that new listeners give this record a fair and objective chance as well.This is definitely their most ambitious release yet, and they absolutely nailed it!" - Metalholic 
    $15.00
  • Long running German thrash band led by female vocalist Sabine Classen. Agony Of Death features lots of special guests including Ferdy Dornberg (keyboardist from Rough Silk and Axel Rudi Pell) as well as guitarist Ralph Santolla. This is the limited edition that comes with bonus tracks and special features.
    $15.00
  • "Marillion seems to be appealing to a commercially-oriented buying demographic with this album. There are parts of this record you'll love, and there are parts ... you might not. The band's work in the Hogarth era is marked by its variability - or some might say inconsistency. Although there have been some dud CDs, arguably including Radiation, Anoraknophobia and marillion.com, each of those records had some excellent songs. Similarly, the great albums had songs that were less than stellar. So it's generally safer to think of Marillion's work in terms of the songs rather than the CDs. Having said that, though - Somewhere Else probably fits somewhere between Marbles and marillion.com stylistically, and it's closer to .com in terms of quality.Somewhere Else doesn't share all of Marbles's progressive elements, its subtleties, or its general appeal. This music is a bit more linear, and it's very vocals-oriented. Steve Hogarth's singing is as emotion-laden as ever, switching effortlessly in and out of falsetto, and very expressive - in the style of "The Invisible Man" or "Angelina" from Marbles, or Radiohead's classic "Creep". But you might wish that he would stop singing for just a few minutes and let some instrumentals shine through. Steve Rothery's legendary guitar work is heard in only a few places, and Mark Kelly provides some very appealing piano lines, but there aren't any instrumentals to into which you can really sink your teeth."Most Toys" is a hard-hitting rocker with very simplistic lyrics that won't have much appeal to Marillion's traditional fanbase, although it might win them some commercial radio time. "Last Century for Man" also has simplistic lyrics with little subtlety, and a catchy melody that stays with you for days. There are no epics here, with 10 songs in just 52 minutes, and the title track (the longest at 8 minutes) is the standout piece with a meandering structure, gently appealing delivery and an almost minimalist approach to the instrumentals. Some might call it sleepy - but it definitely goes into the list of Marillion's better songs. Other highlights are the opening track "The Other Half", and "Thank You, Whoever You Are" - a fairly straightforward piece that features some nice but all-too-brief moments from Rothery's guitar.If Marillion is chasing after radio time, or if they're wooing the Coldplay / Radiohead / Pineapple Thief audience, this song-oriented record will probably get them there. But it will do so at the cost of a significant portion of their progressive rock fanbase." - Sea of Tranqulity
    $8.00
  • The seeds for The Fullness Of Time were planted with the band's self-titled debut in the summer of 2002. That album features members of Fates Warning, Steel Prophet, and Symphony X. Redemption leader Nick van Dyk prevailed upon his close friend, Fates Warning lead singer Ray Alder, to take the producer's chair.The band quickly gathered a following in the metal underground, and received rave reviews from the press, which recognized the band for its combination of intensity, progression and melody. The German magazine Rock Hard awarded it 9 out of 10 points. The accolades culminated in a performance at ProgPower in September 2002. Alder also joined the band on stage as a guest performer.With a newly revised lineup in place, Van Dyk set to work writing and recording the follow-up, and upon hearing the completed music, Alder asked to join the band as its full-time vocalist in the summer of 2004. The band recorded its sophomore release, The Fullness of Time, and van Dyk selected Tommy Newton, known for his production work with such bands as Conception, Ark, Helloween and UFO, to mix and master the record.Once again, the music combines heaviness, complexity and irresistible melody drawing on such diverse influences as Kansas, Savatage, Iron Maiden, Fates Warning, Dream Theater, Rush and Megadeth. The Fullness of Time promises to be one of 2005's most unique and compelling offerings in the prog/power genre.
    $13.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $6.00
  • Ninth album from this Swedish band.  Katatonia's music shares a kindred spirit with that of Opeth and Tool.  Very much emotion driven with a dark vibe through out.  It doesn't come more melancholy than this one... "Despite being into their third decade, gloomy Swedish progressive metallers Katatonia are still producing fine work. 2009’s Night Is the New Day was heralded as the band’s finest ever album, and with prog’s increasing influence evident across the more facile end of the metal spectrum, this band is doing better than ever. Dead End Kings marks another progression for this outfit – in terms of album structure, anyway. While their previous effort was a sumptuous effort with a sum greater than its parts, this ninth album is a collection of fantastic, searching songs that stand alone as well as they do together. It’s still completely and utterly miserable, though… so very, very miserable. The cellos in opening track The Parting add solemn layers to music that is already laden with sorrow and introspection. It’s a multifarious affair from then on in. The slightly sinister Hypnone adds strength before the album succumbs to the mellow, emotive The Racing Heart. Buildings is the most resolutely metal track here. Its humungous riffs are positioned at exactly the moment where the listener may have been lulled into a false sense of security, bludgeoning guitars swelling the song’s belly with a fiercely charged beauty. There are other moments of grandiose, majestic beauty breaking up the murkiness, but Buildings is the only piece of metal you’re going to get.Dead Letters is massively reminiscent of Tool – and while the American prog-grungers remain at work on their overdue fifth LP, it’s a very welcome sound. It doesn’t last though. As with everything Katatonia do, the song wanders off into another direction, atmospheric moments splintering into sparse orchestration, Jonas Renkse’s murmured voice flying across the top throughout. <br><br>The closer is certainly the finest standalone song here, bringing Dead End Kings to a glorious and complex end. There’s no grand climax. It just fades to dust, allowing you to reflect upon yet another excellent album from Katatonia." - BBC
    $12.00
  • Swedish melodic prog metal band Cullooden is the latest band to emerge from the Roastinghouse management stable.  Their debut, Silent Scream, sits nicely besides bands like Circus Maximus, Withem, and Seventh Wonder.  Strong anthem-like vocal harmonies permeate the album.  Plenty of nice soloing throughout the album.  Keys are featured but the real star of the show is the guitar work.  Highly recommended."If I have to put on a specific metal sticker on this debut album, it has to be something like this: Modern, melodic metal with big jagged shards of prog metal/rock. This Swedish trio in Cullooden is giving us a disc, which is very technical and at the same time it's a very melodic album. 'Silent Scream' is a metallic gold bar. It contains adult, progressive metal tracks played with ultra strong harmonies and Cullooden is fronted by one of the strongest and widest new rock voices I've heard in a long time.Fredrik Joakimsson owns the talented voice, and he handles the highest tones just as perfect as in the harsher and darker tunes. I hear musical influences that reminds me of Dream Theather or maybe even more from their compatriots in the magnificent progressive metal band Seventh Wonder and the Norwegians in Circus Maximus.Cullooden is not another beginner's project, which has released a 'quick shot' album, nope they knew what they were going to record on 'Silent Scream' and the songs are so overwhelmingly worked through both musically and lyrically. The album is also extremely well produced. I have to stick my neck out and say that it is perfectly produced, there is absolutely nothing to complaint about.What attracts my interest a little more than normally is the elegant flirts with the melodic hard rock, like in 'Our Only Desire' and in 'An Interesting Fact', which are some of my favorite tracks on this album. The heavy bass rhythms are pressing in the background, but it's easy listening and melodic nonetheless. The quality rhythmic metal that has been mixed with the progressive tones becomes an insanely congenial overall impression. Every track has it's own personality and I've used much of my time to sort this album in and out and my final conclusion is this: A new shining progressive metal star is appearing on the metal heaven and it's called Cullooden!'Silent Scream' will most likely be played over and over again for a long, long time to come when I want life-inspiration or just want to hear at succulent melodic metal or world-class quality prog metal. I love it!The album is recommended for most metal fans, although the melodic/progressive metal fans will most likely worship this masterful album release!" - Power Of Metal
    $16.00
  • Digipak edition with one bonus track."Tasting The Tears in the ninth studio offering from Italian prog metal masters Eldritch. For those who are unfamiliar with the band, that is what we here at Lady Obscure are here to do! We shine the spotlight on bands that may have flown under the music fans radar. Eldritch perform a technical form of melodic progressive metal with elements of thrash metal thrown in to create a style that is instantly recognizable as Eldritch. Following up on the success of the bands previous album Gaia’s Legacy (which included an invitation to perform a powerful set at the famous ProgPower USA festival in 2011) is no easy task, but after several listens of Tasting The Tears, I can safely say that Eldritch are up for the challenge. After the global warming concept of Gaia’s Legacy, the band turns to more personal subject matter. The lyrics on Tasting The Tears share a common theme: love in all its different forms. Not exactly progressive metal forte but Eldritch pull it off thanks to vocalist Terence Holler’s emotive delivery and some excellent songwriting.Tasting the Tears was produced by Eugene Simone at ES Studios in Livorno, Italy. and mixing and mastering duties have been handled by Simone Mularoni (DGM) at Domination Studios in San Marino, Italy. The album combines melody, complexity, and dark compositions to create a cohesive album. The production is crisp and all the individual instruments are given a clear representation in the mix. The album kicks off with Inside You, a moody and catchy headbanger with a soaring melodic chorus, and lots of tasty riffs courtesy of the guitar duo of Eugene Simone and Rudj Ginanneschi. The title track features the keyboard wizardy of Gabriele Caselli overlapping the thrash metal machine gun drumming of Rafahell Dridge with melody. The mood takes on a melancholy and darker tone with Alone Again. The band combines the clean guitar tones with keyboards and Holler’s melodic voice combined with superb vocal harmonies. Based on the lyrical content, Waiting For Someone is a song about loneliness and the search for love. The music is heavy and progressive with plenty of melody and guitar crunch. Seeds of Love has a driving intense drums and chugging guitar rhythms. A piano intro starts of The Trade, a song of betrayal and the tone relects the seriously dark subject matter. The thrashing mad Something Strong is filled with brutal riffs, technical drumwork, and impassioned vocals. Don’t Listen the trash influence is apparent but Caselis keyboards and Hollers vocals add the perfect melodic touch. The band shows their diversity and takes a chance with the moody piano ballad Iris. The song is well done although personally I would rather hear the band rock hard. Luckily the next song Love From A Stone shows the band doing what they do best and that is playing intense and melodic prog metal.The energy is ramped up on Clouds, an intense heavy progressive song with some fantastic keyboard work and a fantastic memorable chorus. As with Gaia’s Legacy, the albums closing song is a cover song, this time of the Queensrÿche classic I Will Remember from Rage for Order. The song is given the Eldritch treatment with added piano and Holler’s voice which is drastically different from vintage Geoff Tate, but he adds his own unique spin to the song and make it his own. Is it better than the original? Of course not, but it is a faithful rendition and tribute to one of the bands influences and I commend the band for taking a chance on recording a song of this stature in the metal world.Although it is not a perfect album, s a fan of Eldritch, I can highly recommend Tasting the Tears. It’s not as heavy and lively as Gaia’s legacy or Blackenday, but being one of the lucky fans to catch their last U.S. performance, I can say that the band puts on a highly energetic show and one can only hope that they return to U.S. shores soon. Fans of melodic progressive metal with a touch of thrash will appreciate the latest Eldritch offering." - Lady Obscure
    $15.00
  • "Fair to say their name is still as dislikeable as it was when we covered their excellent album Eight Pieces, One World album two years ago but musically the Belgian metallers still rock the juices out of us as proven by new encounter Odd Memories. Max Pie fills their third album with all the essences which made its predecessor a surprising and compelling proposition but it is with bigger and bolder imagination and creative energy. We are no major heavy/power metal fans here to be honest but once again Max Pie has given us one thumping and rousing time.The band was formed in 2005 by vocalist Tony Carlino taking inspirations from bands such as Symphony X, Van Halen, Toto, Queensrÿche, and Dream Theater into their emerging ideas. A slightly unstable time in personnel graced their early years before Max Pie released debut album Initial Process in 2012. Fan and critically acclaimed it was surpassed by Eight Pieces – One World a year later in presence, sound, and praise. Its release was followed by the band playing numerous festivals and undertaking tours with the likes of Symphony X, Evergrey, Fates Warning, Avantasia, and Queensrÿche. Now they return with, as the last album, the Simone Mularoni mixed and mastered Odd Memories and simply their finest, most inventive proposal yet.The album opens with its title track; an instrumental ripe with a foreboding atmosphere and epic textures all cinematically imposing on the imagination. This type of beginning is becoming a common practice across varied metal offerings but when done right, as here, it makes a potent invitation into any release. As the track slips into the following Age of Slavery, a sizzling electronic coaxing colludes with rampant riffs and a melodic embrace of keys. The thick commanding rhythms of drummer Sylvain Godenne shape and invigorate the track further, framing the growling vocals of Carlino perfectly. The frontman’s diverse delivery is as magnetic as ever, some elements more powerful and potent than others but like the music, a constant lure that likes to stretch and push both song and musician. As the guitar and keyboard craft of Damien Di Fresco builds and expands its enterprise, the track blossoms into a sturdy and fiery encounter to really kick things off.It is also, in many ways, a relatively straight forward and maybe expected proposal from the band, the new exploration showing itself more from Odd Future on. Keys breed the first mesmeric caress on the third track before guitars and the wonderfully dark throated bass of Lucas Boudina bring their hues to the emerging and stirring landscape of the encounter. Once vocals join, the song settles into a melodic roar and sonic flame of melodic and heavy rock ‘n’ roll, their union a heated and tenacious arousing of ears and thoughts veined by sparkling, and at times understated temptation from the keys. It is when things go off kilter with a glorious stretch of discord kissed invention and melodic bedlam that the song really comes alive and if there is any moan it does not play in this great moment long enough.Promised Land opens on a vivacious escapade of keys quickly encased in storming riffs and rhythms, it all quickly blooming into a virulently contagious slice of rock pop with classic metal and progressive rock hues. It has single running through its potent craft and lusty veins, every second of the track a bold and rousing incitement for body, voice, and emotions. Such its power and lure, it gives next up Love Hurts a hard time trying to follow it, and as mesmeric in melodic beauty within tempestuously emotional and physical terrain that it is, it never quite finds the same full-blooded personal reactions as its predecessor. It is undeniably superbly crafted and woven though and does leave only fully satisfied thoughts before the darker, ravenous excellence of Don’t Call My Name takes over. The guitars alone are predatory with their creative rummaging of the senses whilst the keys float with celestial temptation above them and the uncompromising rhythms spearing it all. Reaping the ripest elements of technical and progressive metal, band and track pulsate as they gnaw on ears, adding melodic and harmonic balm to the increasingly irresistible voracity on offer. With Carlino also on fine form, the track is the pinnacle of the album, reason alone to eagerly approach Odd Memories.The acoustically brewed Hold On slips in next to transfix and from a slow start to its persuasion grows into a big favourite. Whether by chance or intention, it has a Bowie-esque essence to it, a floating whisper in quieter moments which does it no harm. It is a scent soon out flamed by vocals and the sonic blaze giving the song rich crescendos and a breath-taking finale before Unchain Me takes the listener on another tumultuous ride of rugged metal and tantalising electronic adventure.No prizes in guessing some of the scenery within Cyber Junkie, its electronic and industrial endeavour a potent spicing to another song offering a compelling fusion of bestial metal and melodic flirtation, the former steering the ship with invigorating success. As Don’t Call My Name before it, the track is a masterful web of varied and diverse styles in one predacious provocateur, thoughts of bands from Anthrax to Armored Saint, Dream Theater to Skyharbor coming to mind across its exciting and again show stealing soundscape.The album is finished by The Fountain Of Youth, a song which either a raging storm of a canter or a gentle caress enthrals and sparks only the keenest attention and support from ears and emotions. Like a couple of other songs it takes longer to get all of its hooks inescapably entrenched but with its additional symphonic elegance and emotively hued strings, the song has seduced long before realisation notices.Wrapped in the excellent artwork of Didier Scohier, Odd Memories and indeed Max Pie have caught us again with a tempest of sound and invention driven by craft and passion. This time it is bigger, more adventurous, and confirming the band as one of progressive power metal’s finest." - The RingMaster Review
    $15.00
  • "The successor to "Obsessions" (2011) was mixed and mastered by Jacob Hansen at Hansen studio in Denmark (Volbeat, Pretty Maids, Amaranthe a.m.m.)Beside band leader Samuel Arkan, the following vocalists and musicians contribute to"Fantasmagoria": Tom S. Englund (Evergrey) Henning Basse (ex-Metalium, ex-Sons Of Seasons, Mayan) Ida Haukland (Triosphere) Matt Marinelli (Borealis) Tezzi Persson (Between The Silence) Mike LePond (Symphony X) Léo Margarit (Pain Of Salvation) Julien Spreutels (Ethernity) Simone Mularoni (DGM)The quite unusual thing is that all these guests came to the Noise Factory studio (Belgium) to track down their parts. Nobody recorded his/her parts at home, like with some many other projects."I wanted the whole thing to get a real "band" feeling", Arkan says. "Therefore having all vocalists and musicians here was very important to me. We got to know each other better and better while spending time together. The new material sounds very fresh, dark, heavy, modern and "true" with "straight in the face" guitar riffs, intense voices and melodies, massive work on progressive atmospheres and orchestral parts. All the artists who participated in this album gave their soul to it, gave their best, they travelled deeper into sensitivity and sincerity. That's probably the best words which define this next album... sincerity & spontaneity! This album comes from the heart of each musician and vocalist who worked on it, and you can feel it when you listen to this new EPYSODE album."Compared to the debut "Obessions" the new material is a step forward in every way, with even better songwriting, a massive sound, powerful production and an intensity you rarely find these days.With the top notch vocalists that are gathered here (a.o. Evergrey’s Tom S. Englund, who is contributing to 5 songs) the "Fantasmagoria" concept story comes to life in a very intense and thrilling way, with lots of facets, expressive singing, deep & dark emotions. Englund’s duet with Ida Haukland (Triosphere) on the album’s title track especially gives goosebumps to the listener. There is also a plot to the "Obsessions" album and many fans of concepts will have their pure delight in discovering the story behind the story.The "Fantasmagoria" recordings took place from December 2012 to end of April 2013. Responsible for all keyboards, piano, arrangements was again Julien Spreutels, "my brother in crime, without him Epysode would not be as it is", Samuel says. "He did one more time an outstanding job and gives magic to Epysode, It's always a pleasure and very inspiring to work with him". "
    $15.00